Wednesday, September 19, 2018

They weren't called 'Atlas' because they held up well.

I've been reading a lot of 1950s Atlas Comics from the war/spy genres recently and have begun to notice some peculiar recurring ideas. Perhaps it shouldn't surprise me that much to find similar ideas repeated again and again in the comics, but these four tropes were a bit surprising.

Trope the first: Women Must Die!

This one came specifically from reading a bunch of issues of Kent Blake of the Secret Service back-to-back. Kent Blake's stories were usually set in Washington DC but would send him all over the world to ferret out communist spies. Sometimes the stories were established as a mystery to make the reader guess which suspect might be a commie. Frequently, the spies would die in the climax.

What's amazing about the Kent Blake series is how often the spies turn out to be woman and that the series almost always kills them. If the spy is a man, he might die or he might be captured. If the spy is a woman, statistically she is almost certain to die (so far I've read only one story where the woman spy is taken alive). It's not that the character of Kent has a thirst for women's blood - they tend to fall off roofs or be murdered by their male associates. There was something which convinced the Kent Blake creators that women were soft on communism and therefore deserving of death.

But even the women on Kent's side tend to be picked off, be they Iranian women or Korean women, simply associating with Kent is a good way for women to enter an early grave. In one story, Kent has a girlfriend named Gale who invites him her to home for a vacation (which naturally leads to a "find the commie" plot that ends with a woman spy dying). Gale wants to marry Kent; that's enough to make Kent want to get as far away from her as he can. Totaled up, Kent Blake has a pretty strong misogynistic streak within it. It makes you wonder if Mickey Spillane were still writing for Marvel in those days.

Trope the second: Peace Is Hell!

Now and then a character in a war comic might wistfully wonder, "can't we give peace a chance?" The plot will almost always demand, no, you cannot. There are some stories set during the Korean War where communist soldiers realize "the American way" is superior and will defect to the other side (usually executing a few of their fellow commies to prove themselves), but usually when a soldier in one of these stories thinks something outrageous like "communists are people too," the story will go out of its way to prove him wrong, wrong, wrong by having the communists commit terrible atrocities, disobey the rules of war and prey upon the soldier's weak-minded egalitarianism. By the climax, the peace-minded soldier will have learned his lesson (the only good red is a dead red) and will probably die in a suicidal strike against the communists.

Trope the third: We Have Met the Enemy!

It would be wrong to think the Atlas Comics glorified war. I mean, they did, but some of the time - particularly pre-Code - they told a number of "war is hell" stories where good men die senseless deaths, sometimes killed by munitions dropped by their own side. Still, you almost never saw a story where the United States Army were the bad guys...

...Unless you count stories set during the US Civil War. The one time where it is acceptable to depict the United States as an unjust aggressor battling a noble people? That would be the time they had to fight their own rebellious citizens, y'know, the ones who believed in racial superiority and the principle of owning other men as property; that never comes up in the Atlas stories, as you can well imagine. Virtually every Civil War story is some variant on "Lost Cause" hogwash and ends up taking the centrist position of, "gosh, there were very good people on both sides." There's something very unsettling about the one scenario where the US Army are allowed to be the bad guys is when they were battling a tyrannical slave state.

Trope the fourth: Yellow Fever!

Atlas Comics had a whole cottage industry of war comic book features starring a pair of vitriolic best friends, two manly men who would always be bustin' each other's balls while going on consequence-free adventures in the middle of a war zone. That is, they were basically rip-offs of the characters Flagg & Quirt from the film What Price Glory? and were often written by Hank Chapman.

Within those stories there were a number of notable female villains - Asian women often dressed in military garb (but just as often showing off their cleavage) whom our heroes would spar with time and again, never killing them despite their deadly possibilities. They were essentially ersatz Dragon Lady copies. Some of these ladies appeared so frequently they would fight the heroes in more than one story per issue!

Combat Kelly and Cookie Novak had Yalu River Rosie, the Panther Lady, Muktong Molly and Korea Katie; Battle Brady and Socko Swenski had General Olga; Iron Mike McGraw and Gunny Gorski had Chee; Battleship Burke and Salty Smith had Hungnam Hannah (I commented about her before). That's everyone I've found so far. Obviously there was a bit of the ol' fashioned western interest in Orientalism, particularly on the exoticism side. It also seemed to provide a means to belittle the USA's communist adversaries: "Hey, dem commie dames jus' wanna tough 'Murican guy tah put 'em in der place."

Tuesday, September 11, 2018

The Great Marvel Hoax

Currently I'm reading the book Bunk: The True Story of Hoaxes, Hucksters, Humbug, Plagiarists, Forgeries, and Phonies by Kevin Young and it is quite a fascinating read as the author attempts to connect the various kinds of frauds people perpetuate. I thought of this book when I recently bought an issue of Marvel UK's Planet of the Apes magazine featuring Apeslayer.
You know, Apeslayer! That great Marvel science fiction hero Apeslayer! Surely every Planet of the Apes fan remembers Apeslayer?

Marvel's weekly comics in the UK always had a conundrum - how to fill their pages every week when the US comics they were publishing only came out once a month? You might be able to divide a monthly comic into four issues (filling up the rest of the book with text features or installments of other Marvel characters with a similar audience), but it would take just one month with five shipping weeks to throw you off your schedule. Therefore, the closer the UK's first issue release date was to that of the original US first issue, the quicker they'd exhaust their supply.

In the late 1970s when Marvel UK faced this issue on Star Wars they simply published original material. The audience for Star Wars was so vast - and so instrumental in Marvel staving off the market implosion of the late 70s - that they could justify the expense. But two years earlier in 1975 when Planet of the Apes ran low on US material there was just one thing to do: hoax their way out.
The editors of Planet of the Apes took Marvel's hero Killraven and edited his name into 'Apeslayer' then darkened his hair and modified all Martians/Martian slavers into apes. Frankly, they spent so much time touching up the art and text they might almost just as well have printed new stories! But at least it meant they didn't have to plot any new stories.
"...The War of the Worlds-- I mean, Apes!"
This hoax was a pretty flimsy one and I have to assume a number of UK readers didn't fall for it. I mean, the kind of Martian technology seen in Killraven was a lot more advanced than what the Planet of the Apes apes were utilizing. Also, if they were an astute Marvel Comics fan, they'd already read those Killraven stories on first publication and would have put two and two together pretty fast.

Apeslayer! When your comic must be delivered in 30 minutes or less!




Sunday, September 9, 2018

Creator credits for Iron Fist (Season 2)

Hey, that was an improvement... is the very least you can say.

Roy Thomas: creator of the title "The Fury of Iron Fist" (Marvel Premiere #15, 1974); of the title "Heart of the Dragon" (Marvel Premiere #16, 1974); co-creator of Turk Barrett, a gangster (Daredevil #69, 1970); of Luke Cage, a Harlem-based hero with unbreakable skin (Hero for Hire #1, 1972); of Iron Fist, alias Daniel Rand, orphaned at the age of ten and raised in the city of K'un-Lun, where he trained in the martial arts to become their greatest warrior, passing every test and trial before him until gaining the power to channel his chi into his fist, making it superhumanly powerful; Iron Fist called a "living weapon"; Wendell Rand and Heather Rand, Daniel's parents who perished nearby K'un-Lun; Harold Meachum, Wendell's business partner who betrayed him and had Wendell and Heather killed; K'un-Lun, a hidden city found in the Himalayas which exists within another dimension and only connects to Earth at intervals spaced years apart; of the Iron Fist costume with open chest, green garments with yellow mask; of Yu-Ti, the ruler of K'un-Lun who oversaw Danny Rand's trials (Marvel Premiere #15, 1974); of Daniel Rand fighting the dragon Shou-Lao the Undying, an immortal dragon, and received a dragon-shaped brand on his chest from the dragon along with the power of the Iron Fist; Lei Kung the Thunderer, Daniel's K'un-Lun mentor in the martial arts; of the Thunderer's insignia (Marvel Premiere #16, 1974)

Chris Claremont: creator of the title "A Duel of Iron" (Iron Fist #1, 1975); of the title "The City's Not for Burning" (Iron Fist #3, 1976); of the title "The Dragon Dies at Dawn" (Iron Fist #9, 1976); of the title "Target: Iron Fist" (Iron Fist #13, 1977); of the title "Morning of the Mindstorm" (Marvel Premiere #25, 1975); co-creator of Colleen Wing and Misty Knight as allies (Deadly Hands of Kung Fu #32, 1977); of Davos, a resident of K'un-Lun; of the Steel Serpent brand; of Misty Knight's background as a police officer (Iron Fist #1, 1975); of Daniel Rand being disliked in K'un-Lun as an outsider; of Daniel's K'un-Lun surname 'Rand-K'ai' (Iron Fist #2, 1975); of Davos working with Joy Meachum; of Misty Knight's bionic right arm (Iron Fist #3, 1976); of Colleen Wing following the path of bushido and wielding a katana (Iron Fist #7, 1976); of the Golden Tigers, a Chinese-American street gang which engages in gang wars and battle both Iron Fist and Davos; of Chen Wu, one of the Golden Tigers (Iron Fist #8, 1976); of Davos siphoning the Iron Fist from Danny Rand into himself (Iron Fist #14, 1977); of Davos as Lei Kung's son; of Davos nearly killing Iron Fist by draining his chi (Marvel Team-Up #63, 1977); of Davos training alongside Daniel Rand to become the Iron Fist; of the Iron Fist as a title which many have held over the centuries (Marvel Team-Up #64, 1977)

John Byrne: co-creator of Davos, a resident of K'un-Lun; of the Steel Serpent brand; of Misty Knight's background as a police officer (Iron Fist #1, 1975); of Daniel Rand being disliked in K'un-Lun as an outsider; of Daniel's K'un-Lun surname 'Rand-K'ai' (Iron Fist #2, 1975); of Davos working with Joy Meachum; of Misty Knight's bionic right arm (Iron Fist #3, 1976); of Colleen Wing following the path of bushido and wielding a katana (Iron Fist #7, 1976); of the Golden Tigers, a Chinese-American street gang which engages in gang wars and battle both Iron Fist and Davos; of Chen Wu, one of the Golden Tigers (Iron Fist #8, 1976); of Davos siphoning the Iron Fist from Danny Rand into himself (Iron Fist #14, 1977); of Davos as Lei Kung's son; of Davos nearly killing Iron Fist by draining his chi (Marvel Team-Up #63, 1977); of Davos training alongside Daniel Rand to become the Iron Fist; of the Iron Fist as a title which many have held over the centuries (Marvel Team-Up #64, 1977)

Gil Kane: co-creator of Iron Fist, alias Daniel Rand, orphaned at the age of ten and raised in the city of K'un-Lun, where he trained in the martial arts to become their greatest warrior, passing every test and trial before him until gaining the power to channel his chi into his fist, making it superhumanly powerful; Iron Fist called a "living weapon"; Wendell Rand and Heather Rand, Daniel's parents who perished nearby K'un-Lun; Harold Meachum, Wendell's business partner who betrayed him and had Wendell and Heather killed; K'un-Lun, a hidden city found in the Himalayas which exists within another dimension and only connects to Earth at intervals spaced years apart; of the Iron Fist costume with open chest, green garments with yellow mask; of Yu-Ti, the ruler of K'un-Lun who oversaw Danny Rand's trials (Marvel Premiere #15, 1974)

Ed Brubaker: co-creator of Iron Fist taking the place of Daredevil (Daredevil #87, 2006); of Orson Randall, Danny Rand's predecessor as Iron Fist; of the Crane Sisters, allies of Davos (Immortal Iron Fist #1, 2007); of the Iron Fist's chi being channeled through different weapons; of Orson Randall's trenchcoat and chi-firing pistols; of Wu Ao-Shi, a female Chinese Iron Fist called 'The Pirate Queen of Pinghai Bay (Immortal Iron Fist #2, 2007); of the Iron Fist called an Immortal Weapon; of Wu Ao-Shi falling in love with a fisherman (Immortal Iron Fist #7, 2007)

Larry Hama: co-creator of Daniel Rand fighting the dragon Shou-Lao the Undying, an immortal dragon, and received a dragon-shaped brand on his chest from the dragon along with the power of the Iron Fist; Lei Kung the Thunderer, Daniel's K'un-Lun mentor in the martial arts; of the Thunderer's insignia (Marvel Premiere #16, 1974); of Joy Meachum, Harold's daughter (Marvel Premiere #18, 1974); of Ward Meachum, a relative of Harold and Joy; of Colleen Wing, a Japanese woman, ally and sometimes love interest of Iron Fist (Marvel Premiere #19, 1974)

Matt Fraction: co-creator of Orson Randall, Danny Rand's predecessor as Iron Fist; of the Crane Sisters, allies of Davos (Immortal Iron Fist #1, 2007); of the Iron Fist's chi being channeled through different weapons; of Orson Randall's trenchcoat and chi-firing pistols; of Wu Ao-Shi, a female Chinese Iron Fist called 'The Pirate Queen of Pinghai Bay (Immortal Iron Fist #2, 2007); of the Iron Fist called an Immortal Weapon; of Wu Ao-Shi falling in love with a fisherman (Immortal Iron Fist #7, 2007)

Doug Moench: creator of the title "Citadel on the Edge of Vengeance" (Marvel Premiere #17, 1974); co-creator of Joy Meachum, Harold's daughter (Marvel Premiere #18, 1974); of Ward Meachum, a relative of Harold and Joy; of Colleen Wing, a Japanese woman, ally and sometimes love interest of Iron Fist (Marvel Premiere #19, 1974)

Len Wein: co-creator of Daniel Rand fighting the dragon Shou-Lao the Undying, an immortal dragon, and received a dragon-shaped brand on his chest from the dragon along with the power of the Iron Fist; Lei Kung the Thunderer, Daniel's K'un-Lun mentor in the martial arts; of the Thunderer's insignia (Marvel Premiere #16, 1974)

David Aja: co-creator of Orson Randall, Danny Rand's predecessor as Iron Fist; of the Crane Sisters, allies of Davos (Immortal Iron Fist #1, 2007); of the Iron Fist's chi being channeled through different weapons; of Orson Randall's trenchcoat and chi-firing pistols (Immortal Iron Fist #2, 2007)

John Romita Jr.: co-creator of Typhoid Mary, Mary Walker, a woman with multiple personalities who wields a machete; Typhoid Mary sent to monitor a super hero, her 'Mary' persona develops a crush on him (Daredevil #254, 1988)

Ann Nocenti: co-creator of Typhoid Mary, Mary Walker, a woman with multiple personalities who wields a machete; Typhoid Mary sent to monitor a super hero, her 'Mary' persona develops a crush on him (Daredevil #254, 1988)

Travel Foreman: co-creator of Wu Ao-Shi, a female Chinese Iron Fist called 'The Pirate Queen of Pinghai Bay (Immortal Iron Fist #2, 2007); of Wu Ao-Shi falling in love with a fisherman (Immortal Iron Fist #7, 2007)

Jason Henderson: co-creator of Colleen Wing as a member of the Hand (Shadowland: Daughters of the Shadow #1, 2010); of Colleen leaving the Hand (Shadowland: Daughters of the Shadow #3, 2010)

Ivan Rodriguez: co-creator of Colleen Wing as a member of the Hand (Shadowland: Daughters of the Shadow #1, 2010); of Colleen leaving the Hand (Shadowland: Daughters of the Shadow #3, 2010)

Tony Isabella: co-creator of Misty Knight, an African-American detective who encounters Iron Fist (Marvel Premiere #21, 1975)

Arvell Jones: co-creator of Misty Knight, an African-American detective who encounters Iron Fist (Marvel Premiere #21, 1975)

Jay Faerber: co-creator of Iron Fist battling the Hand; of the Hand seeking to control Iron Fist's power (New Warriors #7, 2000)

Jamal Igle: co-creator of Iron Fist battling the Hand; of the Hand seeking to control Iron Fist's power (New Warriors #7, 2000)

Charles Soule: co-creator of Sam Chung, a Chinese-American man (All-New All-Different Marvel Point One #1, 2015)

Ron Garney: co-creator of Sam Chung, a Chinese-American man (All-New All-Different Marvel Point One #1, 2015)

Archie Goodwin: co-creator of Luke Cage, a Harlem-based hero with unbreakable skin (Hero for Hire #1, 1972)

George Tuska: co-creator of Luke Cage, a Harlem-based hero with unbreakable skin (Hero for Hire #1, 1972)

John Romita: co-creator of Luke Cage, a Harlem-based hero with unbreakable skin (Hero for Hire #1, 1972)

Bill Everett: co-creator of Matt Murdock, alias Daredevil, a costumed crimefighter (Daredevil #1, 1964)

Frank Miller: creator of the Hand, a clan of evil ninjas who battle Daredevil (Daredevil #174, 1981)

Stan Lee: co-creator of Matt Murdock, alias Daredevil, a costumed crimefighter (Daredevil #1, 1964)

Marshall Rogers: co-creator of Colleen Wing and Misty Knight as allies (Deadly Hands of Kung Fu #32, 1977)

Travel Foreman: co-creator of the Iron Fist called an Immortal Weapon (Immortal Iron Fist #7, 2007)

Brian Michael Bendis: co-creator of Typhoid Mary wearing black leather (Daredevil #46, 2003)

Marco Checchetto: co-creator of Bakuto, a member of the Hand (Daredevil #505, 2010)

Kurt Busiek: creator of the title "This Deadly Secret" (Power Man and Iron Fist #99, 1983)

Antony Johnston: co-creator of Bakuto, a member of the Hand (Daredevil #505, 2010)

Michael Lark: co-creator of Iron Fist taking the place of Daredevil (Daredevil #87, 2006)

Andy Diggle: co-creator of Bakuto, a member of the Hand (Daredevil #505, 2010)

Jo Duffy: creator of the title "War Without End" (Power Man and Iron Fist #83, 1982)

Alex Maleev: co-creator of Typhoid Mary wearing black leather (Daredevil #46, 2003)

Gene Colan: co-creator of Turk Barrett, a gangster (Daredevil #69, 1970)

Friday, August 31, 2018

RIP: Marie Severin

When it rains, it pours.

I can't say I ever followed Marie Severin's career closely, but she was a talent I took notice of primarily because she was one of the only female comic book creators of the 50s/60s who people remembered, spoke of, and was still in the business. Much of her early career was spent as a colorist and she became not only one of the few lauded female comic book creators, but one of the few lauded colorists in the business. Her work coloring for EC Comics in particular has been lauded again and again. I certainly appreciated the effort she went to recently to recolor some of her early work for the Bernie Krigstein collection Messages in a Bottle (that's Reed Crandall art above, colored by Marie Severin).

Marie Severin put in a lot of time as an artist on Marvel's Sub-Mariner and Incredible Hulk, although she seemed most pleased to tackle humour. Above is a cover she drew for Marvel's Tower of Shadows, one of the earliest places I saw her artwork.

Her brother John Severin was one of the greatest inkers comic books have ever produced. There were a few times where the siblings were privileged to team up on projects, such as the Kull comic above, penciled by Marie & inked by John. In interviews, Marie would frequently call those Kull issues her favourite experience working at Marvel because was working with her brother. She was a talented woman and by every account an extremely likeable person. Rest in peace, Ms. Severin.

Thursday, August 30, 2018

RIP: Gary Friedrich

Comic book writer Gary Friedrich has died.

Friedrich had plenty of detractors during his career, but I've never had the heart to be one of them. Sure, he wrote the fascinatingly-misguided Gunhawks series for Marvel and he was never well-suited to super hero material, as his turns on Incredible Hulk, Captain America and X-Men proved. He also struggled as the follow-up to Jim Steranko's Nick Fury, Agent of S.H.I.E.L.D., telling stories which were visibly straining the efforts of artist Frank Springer to emulate innovative storytelling.

Yet Friedrich did have some talent when outside of the typical super hero format. He wrote all of Marvel's 70s-era war comics: Sgt. Fury and His Howling Commandos, Captain Savage and His Leatherneck Raiders and Combat Kelly and the Deadly Dozen; sometimes he did very well in that genre with thoughtful parallels to the contemporary situation in Vietnam. Other times he missed the mark.

His western work - outside of the aforementioned Gunhawks - had a bit more pep than most Marvel westerns and he toiled for a time on all of Marvel's big names - most prominently the super hero-esque Ghost Rider but also Kid Colt, Outlaw, Rawhide Kid, Two-Gun Kid and the revival of Outlaw Kid. His Monster of Frankenstein was very good and he's definitely going to be remembered for his creation of the Johnny Blaze version of Ghost Rider, hands-down his most significant contribution to Marvel Comics.

Followers of this blog may recall I reviewed Friedrich & Ditko's Morlock 2001 and the Midnight Men #3 and rather enjoyed it; I also covered his Fright #1 and poked fun at some bad continuity in one of his Rawhide Kid stories.

Rest in peace, Mr. Friedrich.

Sunday, August 26, 2018

Rest in Peace Russ Heath

Russ Heath died three days ago, 91 years of age. He was one of the last few remaining artists who worked on Atlas Comics in the 1950s and Atlas, as my blog archives will bear out, is a passion of mine.

Heath's earliest art is barely recognizable with his eventual style but he did find his footing extremely quickly. From the 1950s to the 2010s, he had an immensely well-honed style with very clean lines but plenty of detail. As an artist who worked for the major comic book publishers, his style of realism wasn't a terrific fit for the kind of super hero comics which overwhelmed the industry from the 1960s onwards but the few times he did delve into super heroes he made it work.

Heath is going to be best-remembered for his war comics work (particulary DC's Sgt. Rock) but I enjoyed his Atlas horror comics the most. His art had a way of appearing light and almost humorous about ghastly subject matter, but when the time came to convey something horrific on the panel, he always came through. The above from "On with the Dance" (Menace #2, 1953) was the first of his horror stories I read and remains a personal favourite; from then on, I always paid close attention to any story bearing his signature.

I've only made one trip to San Diego Comic-Con (and I probably won't ever go back) and was present at the 2009 SDCC ceremony where Heath was presented with the Will Eisner Comic Book Hall of Fame award; it was easily the highlight of the entire Eisner ceremony. After his name was announced, Heath took a very long time to shuffle up to the podium, accept the honour, and with little more than a terse 'thank you' departed. I visited his booth the following day to congratulate him on the honour and to purchase one of his prints, which he autographed for me.

With 60+ years of comic book art credits to his name, Heath has left behind an enormous legacy. Among that legacy are several pages of original comic art which is now in possession of my employers, the University of Calgary Archives & Special Collections. Heath is going to be remembered.

Tuesday, August 14, 2018

Finding One's Meaning in the Video/Movie Guide

Before resources like the Internet Movie Database existed, your best hope for understanding the length, width, breadth and height of filmdom was through one of many video/movie guides. They were ubiquitous, not only on bookstore shelves but even convenience store racks. They tended to range about 1000 pages and were printed on cheap newsprint with easily-smudged black ink. Depending on the design, you could fit 8-10 films on a single page as they didn't offer complete cast lists and only the briefest of plot summaries. Critical commentary was frequently limited to the star rating chosen by the editors, but sometimes they would pause to note something particularly wonderful about a film. Better still, there were those terse put-downs of movies, a devastating slight against the film which could settle the picture's reputation in your mind with only a single line of text.

I loved those books.

We had a few video/movie guides as I was growing up. I'm not sure when I began taking an interest in them, but around the age of ten I was leafing through them. By the age of twelve I would read them practically cover-to-cover. I particularly enjoyed guides which were sorted by genre; you could tell where the 'science fiction/fantasy' section was from the dark smears on the outside leaves, worn down from the hours I had spent pouring over them. Likewise, you could easily find the 'western' section by its pristine white pages.

Even if the book were simply an A to Z of film, there were particular places in the alphabet where I would pause. Having an interest in science fiction, 'space,' 'star' and 'invasion' were good places to search. I read with fascination about movies from the horror genre, always certain I would never have the stomach to sit through one. I began to have a sense of what exactly was out there in the world of film and what was considered good or bad within it. I didn't truly become a film aficionado until I watched my first Alfred Hitchcock picture, but even at the time, movies fascinated me. Renting a movie was still a novelty in those days, a rare treat. Boning up on what existed in the world of film gave me ideas of titles to locate at our local video stores.

Of course, there was one movie I held in esteem throughout my childhood, a picture which figured in many of my earliest memories. I can remember the sense of crushing disappointment I had when I made a point of looking it up in the video/movie guide one day. To my horror I read this:

Star Wars (1977)

I was speechless. 1977??? How could it be? I was certain I had seen the movie copyrighted to 1978. Perhaps I had simply owned a Kenner Star Wars toy with a 1978 production date, but somehow, at some point, I had believed Star Wars first came out in 1978. I compared one video/movie guide to another and each confirmed the fact: Star Wars had been originally released in 1977. A year before my birth. A year and a few months, in fact.

I was young enough at the time that I still played with my Star Wars toys and scoured used toy sales for other kids' cast-offs. Marvel Comics' Star Wars was the first comic book I began avidly collecting, attempting to build a complete set of issues. I didn't watch the movies too frequently (the only copies my family owned were those we taped off television in the late 80s) but we watched them at least once per year. At the time I made my discovery about the year of Star Wars' release, Star Wars was still an active presence in my life and would continue to be so until I went to college.

I realize now that I had been so willing to believe Star Wars had come out in 1978 because I was attempting to attach some higher meaning to my affection for the movies. It wasn't enough, apparently, that they were just good films - I wanted to believe Star Wars and I had come into the world together, that there was something verging on the spiritual about my connection to those motion pictures. And there wasn't, not really.

I'm hardly alone in this; certainly not alone in an irrational fervor about Star Wars, but I, like most of us, was trying to figure out my place in the world, a sense of meaning and purpose. I had no concept of what I would do for a living until after my high school years, so I frequently looked to my hobbies to define myself.

Even after I found my career, I flirted with the idea that my hobbies somehow revealed cosmic truths about my identity. There's a website called Mike's Amazing World of Comics which enables people to sort comic book releases by month & year. Visitors are encouraged to use this feature in order to find out what comic books were on sale the month they were born. How could I resist finding out? As a comic book fan, as someone who wound up being employed by Marvel Comics for eight years, surely there would be something there that would... explain who I am. Some piece of the puzzle. That I would click on the 'filter' button, see my favourite comic book story was printed the same month I was born and exclaim, 'Aha! It all makes sense!'

Okay, I was born the month Michael Korvac died. That's... something...?

There were some decent comic books published the month I was born. None that I would consider to be 'great.' And anyway, my favourite comic book story was first published when I was four years old.

It's a human thing to want to find patterns. Everything from astrology to numerology to fortune cookies are designed to appeal to our disbelief in randomness, our mistrust of coincidence, our willingness to find or invent purpose and meaning in items which are inconsequential.

I am grateful, then, to my family's video/movie guide for teaching me a lesson about my identity. If I had been born the same year as Star Wars, I fear I would have internalized that information and forced it to remain part of my identity as I grew up. It's good that I realized I was in error and rejected the idea. It's better to have your eyes open, searching for meaning than to center your life around a fanciful lie you want to believe. It was certainly easier for me to let go of Star Wars in college because I had disconnected myself from the idea that it held a place in my origin.

When my older sister turned 30 my parents were struggling to find something to tack-on to her birthday present that year, when they decided to simply buy her the movie which won the Academy Award for Best Picture the year she was born. Amused by this, I checked up to see what had won the Award in 1978: The Deer Hunter. I had never seen it but knew it wasn't exactly a happy film. I let my parents know that I expected them to buy me a copy of The Deer Hunter when I was thirty and they did - but I don't think I discovered anything more about who I am from that motion picture. Nor did I expect to. "This is this," philosophizes De Niro's character in The Deer Hunter, and that pragmatism has some weight. Movies are movies. Art is art. Art might help you find the tools to express your identity, but you and the art are not the same thing.

"See this? This is this. This ain't something else. This is this."

I've looked beyond popular culture to world events to see what was happening in 1978, what kind of environment I was born into, something which might give me a greater sense of identity. I suppose I feel like a blank slate; I no longer identify myself by the media I consume. How then do I define myself? Through my Christian faith? But how has my faith journey been unique? Having been born into a Christian home and never rejected faith, hasn't it always been there?

And then this year I finally found something which happened in 1978 that might help me make sense of my identity going forward. It wasn't rooted in popular culture or notable enough to earn a footnote in a newspaper. But it was rooted in my family and in faith.

Forty years ago, my aunt & uncle went to Angola to serve as missionaries.

This year, I decided I would do the same.