SUPER SOLDIERS Exclusive Excerpt: Is War Machine A “Good Soldier?”

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June 4, 2019

Super Soldiers is out June 18th, and thanks to author Jason Inman, Monkeys Fighting Robots has an exclusive excerpt to share with you.

The book is an exploration of the correlations between the real-life American Armed Services and superhero comic books, and how the former influences the latter. Each chapter breaks down a different comic book service member – such as Captain America, Batwoman, and even Beetle Bailey – with the goal of deciding whether or not they are a “good soldier” by realistic, contemporary military standards. Inman also shares never-before-told stories about his time in the Army, deployed as a soldier in Iraq.

In addition to serving in the military, Inman has written the creator-owned comic book series Jupiter Jet, and has appeared on DC All-Access, Collider, Nerd Alert, and Screen Junkies. Super Soldiers is his first prose novel.

Pre-order Super Soldiers on Amazon by clicking here, and keep scrolling to read an exclusive excerpt from the chapter on Marvel’s War Machine.

**Take an exclusive look at Super Soldiers‘ chapter on War Machine:**

When Tony came across Rhodey in the steamy jungle, the billionaire philanthropist was clad in the very first Iron Man suit he ever designed. (We’ll not mention why Tony is also wearing a trench coat and hat on top of the armor. That subject could fill another three-hundred-page book.) Rhodey was desperately trying to fix his helicopter to get back in the air when the newly minted “Iron Man” loudly lumbered through the trees. Rhodey did what any decently trained airman would do—he pointed his M16 at the monstrosity and fired! When the bullets had no effect on the Iron Man, Rhodey remarked, “Oh mama, looks like I’ve stepped in the bad stuff this time.” Iron Man assured Rhodey he would not harm him, but he needed the batteries from Rhodey’s downed helicopter to recharge his suit. If he couldn’t get a boost soon, the suit would fail and Tony Stark’s heart would stop. (This was during the time in Tony Stark’s career when he still needed the Iron Man suit to survive.) The two men barely had a moment to consider their next moves when a Viet Cong patrol attacked their position. The two were forced to unite against a common enemy. There’s no quicker way to forge a bond than that! Iron Man saved Rhodey’s life, which ultimately convinced James Rhodes to allow Iron Man to drain his helicopter’s batteries. As a result, the helicopter was permanently down for the count. Not only that, but Rhodey’s leg had been injured during the surprise attack. Determined not to leave behind the brave soldier who had helped him, Iron Man carried Rhodey on foot until they reached the American perimeter and safety. After being released from the hospital, Tony Stark appeared to Rhodey and thanked him for helping his Iron Man reach safety; he then offered Rhodey a job after the hostilities in Vietnam ended.

(Readers’ note: Iron Man kept his real identity secret from Rhodey and made him believe Iron Man was Tony’s bodyguard. One can only imagine the conversations they must have had, jaunting through the jungle. “Hey, Iron Man, what movies do you like?” This was a ruse that Tony Stark perpetrated on several people in the comics over the years, not just Rhodey.)

This brief encounter proves Rhodey was ready to think outside the box. He wasn’t—and is not—limited to the rules and standard procedures of the Air Force. Rhodey is willing to critically think about the situation and use the available means to accomplish his goal. You don’t look a gift iron robot man in the mouth. After a series of other jobs, Rhodey left the military and finally accepted Stark’s offer. He became Tony’s personal pilot and aviation engineer.

super soldiers exclusive preview excerpt jason inman war machine — War Machine by artist Adi Granov, from the cover of IRON MAN: DIRECTOR OF S.H.I.E.L.D. #33

Many people like to put service members in a box—typecasting them, if you will. If you join the Air Force, then the only career fields for you after your service are flying jumbo jets for airlines, or NASA. Rhodey took a job that was a little of both. If not for his acceptance of the strange, he would never have found himself working for a multibillionaire superhero, a job which would eventually lead him to his own true destiny: becoming a superhero.

When my time in the service was over, I considered many jobs connected to my old life. I had just come back from a year in Iraq, and many of the civilian contractors who staff bases in the combat zone are always looking for experienced former soldiers. Since you’ve already seen the combat theatre up close, you know exactly what to expect. There would be no surprises. (In retrospect, I can’t imagine any full civilian non-veteran who would accept a job in a combat zone. No job pays that well.) There is one employer whose pay is woefully poor—the US armed forces. Join any of the branches and, unless you quickly move up the ranks to captain or major, you’re going to find your paycheck lacking. Now, there are plenty of other benefits that sometimes make up the difference when you are serving, but not many. Our fighting men and women are severely underpaid for the job we expect them to do. Civilian contractors in a combat zone, on the other hand, are paid handsomely. I remember asking the civilian who managed our fuel base on Tallil Air Force Base (the post I was stationed at in Iraq) how much he made. He simply laughed and said, “It’ll make your head spin, kid.” It’s the only reason I ever considered going back to the dusty lands of the Middle East, because maybe, just maybe, the pay would make it worth my time. I obviously never made that choice, since I now sit here writing this book. However, this exact choice was made by James Rhodes, and I like to think his Stark paycheck was very handsome. It’s a choice I think many combat veterans would have also made.

Rhodey is also a character who values loyalty. Perhaps it was his many years serving in the Air Force, perhaps Rhodey always had a loyal bent, but this trait has come to define his relationship to Tony Stark. While many people in the world do not trust Tony, Rhodey always sticks by him. This essentially makes Tony his civilian battle buddy. That’s a term for when you are partnered to another soldier in combat; it’s your duty to look out for each other and ensure you both make it through the mission unscathed—no matter what. I believe this is Rhodey’s mechanism for coping with civilian life and the strangeness of working for (and later with) Tony Stark. Think about it: most days on the job at Stark Enterprises, the Living Laser or Spymaster will come crashing through your windows, then try to steal the newest technological invention built by your boss. Only by focusing on his loyalty to Tony, a person who gave him a shot—a friend who took a chance on him—can Rhodey deal with the insanity destined to occur in the same building as Iron Man’s exploits.

Super Soldiers is out June 18th; you can pre-order it on Amazon by clicking here. And keep it tuned to MFR for our review in the coming weeks.

See what others are saying about Super Soldiers:

“Jason Inman provides a manual which utilizes and analyzes subtext to offer psychological profiles of our favorite superheroes viewed in the context of their fictional experiences as warriors and veterans in the US Armed Forces. He demonstrates vividly and entertainingly how the superhero pantheon is firmly rooted in the disciplines, lore, and traditions of American combatants throughout history. The creators of all these characters took a good look at real-life military heroes for their inspirations and now Mr. Inman makes this link clear.” ―Dan Aykroyd, actor/writer of Ghostbusters and The Blues Brothers

“Finally, someone takes a deep dive into two of our best American institutions. From Captain America to the rest of this elite unit, get ready to salute.” ―Brad Meltzer, bestselling author of The First Conspiracy

“Super Soldiers is a hell of a fun book. Jason Inman has written a love story to soldiers, to comic book heroes, and to his country. Witty, fast-paced, and nerdy (I mean learned) on his subject, Inman is a perfect guide for a deep dive into the interwoven historiographies and mythologies of American warriors and pop culture.” ―Anthony Swofford, former US Marine and author of Jarhead

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Review: Raising the Stakes in RED SONJA #5

By

David DeCorte

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To achieve victory, you often have to make a sacrifice. It’s a much harder call to make, though, when peoples’ lives and livelihoods are on the line, which is the theme of the core narrative in Red Sonja #5.

The Hyrkanians are still on the run from Dragan’s advance. Sonja orders a scorched earth approach in response, hoping to turn the tides against him. The plot thickens, though, when one of Sonja’s closest allies and confidants is drawn into a trap.

The Writing

Early in the issue, we see another flashback to Sonja’s earlier days as a student under Domo of Khitai. Domo imparts a utilitarian lesson on Sonja: you can’t always save everyone. “To defend everything is to defend nothing,” he says. Sonja applies this lesson as a calculated strategy against her enemy.

Mark Russell’s writing on the series thus far has been marked by a deft balance of humor and drama. That balance of elements has been one of the series’ strongest assets. Red Sonja #5, though, largely eschews the former to emphasize the human toll of the story. Downplaying the humor here in favor raising the stakes for the Hyrkanians, as well as for Sonja herself, adds pathos to the storytelling and enriches the narrative.

The story has additional dimension to it as well. Sonja doesn’t order a scorched earth retreat lightly. Instead, she orders her men to round up as many of the stragglers of Hyrkania who refused to flee and rescue them from Dragan’s army…by force, if necessary.

That said, Sonja doesn’t come across as an unreasonable tyrant. Her decisions in Red Sonja #5 feel guided, ultimately, by compassion and a desire to rescue her people. It’s a very difficult balance for a writer to strike but, to Russell’s credit, he manages the task well.

We also see solid development of supporting characters about whom we’d previously known relatively little. Their development enriches the plot and heightens the stakes of the narrative within the issue.

The Artwork

Mirko Colak’s illustrations in Red Sonja #5 are strong throughout. Panels flow well, drawing the eye smoothly from one image to the next and matching the story beats.

Much of the issue is dialogue-heavy. Thus, most of the panels are limited to tightly-cropped images of characters’ faces. However, he doesn’t pass up the opportunity to open up occasionally into impressive full-page illustrations when called for. Add to that the fact that the slower moments and occasional pops of rich art allow for the color work to shine. Readers can pick up on the more subtle tones employed, and appreciate the detail in the contrasts.

As the issue is so dialogue-centric, it highlights that Colak has a slight tendency to present characters with fairly uniform, unexpressive faces. Dialogue is mostly presented with either closed mouths, or a cynical sneer. That’s the only real gripe to be had, though. Overall, it’s a strong showing in the art department.

Final Thoughts

Red Sonja #5 is a turning point in the series. While it backs off from the humor that was a strong suit in previous issues, it more than makes up for it by advancing the narrative, heightening the stakes, and deepening our cast of characters. Highly recommended.

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Top Five Moments In DETECTIVE COMICS ANNUAL #2

By

Colin Tessier

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June 1, 2019

Watching Batman come face-to-face with a dark version of himself isn’t a new experience; Last year, DC churned out an extensive event primarily focused on the idea. Still, in Detective Comics Annual #2, writer Peter J. Tomasi revitalizes an idea plenty of Batman stories have explored over the years.

Story by Peter J. Tomasi, art by Travis Moore and Max Raynor, color by Tamra Bonvillain and Nick Filardi, letters by Rob Leigh, cover by Guillem March.

In many ways, Tomasi’s self-contained adventure organically connects to Tom King’s Batman. From Alfred’s sass to Bruce’s introspection, this annual borrows several elements from King’s successful run. The only significant difference between Tomasi’s Bruce and King’s version comes when Bruce semi-dates an eligible bachelorette who isn’t Selina Kyle. Otherwise, the two iterations of the character are practically identical. Some readers may wish to see more differences between Detective Comics and Batman, but this overlap is satisfying because it feels like Tomasi is playing off of King’s narrative. Nonetheless, in addition to the main story, Tomasi packs several compelling snippets into this issue.

Bruce Loves Coffee

Witty exchanges between Bruce and Alfred are often the best part of any Batman story. Here, Tomasi delivers several delightful moments. Early on, everyone’s favorite butler bemoans Bruce’s lackluster sleeping habits. Alfred calls to Bruce, who’s in the shower, and begins to tell him that his coffee his ready. Bruce interrupts his butler and completes his sentence by loudly saying, “coffee?” The comedic timing of the line is elevated by letterer Rob Leigh’s use of bold text, which allows the reader to hear the eagerness in Bruce’s voice at the prospect of a fresh cup of joe. At least for this coffee addict, Tomasi delivered one of the most relatable moments in a Batman comic in recent memory.

Detective Comics Annual #2, Bruce Wayne, Alfred — Hot take: this exchange is the best moment in the entire issue.

Batman Gives Gordon Lollipops

Another brief scene comparably boosts another strong issue. When the Dark Knight catches up with Jim Gordon, the two friends engage in small talk, and one particular sequence stands out. Gordon, who always has a cigarette in his mouth, thanks Batman for giving him a box of lollipops because it’s helping him cut back on smoking. With a hint of a smile, the Caped Crusader says, “my pleasure.” There might not be a more wholesome moment in Batman comic for the rest of the year. These snippets aren’t significant in the main story, but they make the issue even more enjoyable.

Detective Comics Annual #2, Batman, Jim Gordon — There might not be a more wholesome moment in a Batman comic this year.

Bruce’s Profile of The Reaper

It’s likely that the reader didn’t pick up this comic for those moments alone. The primary hook here is the return of the Black Casebook and, specifically, the Reaper, or Judson Caspian. Using streamlined exposition, Tomasi recaps Batman’s history with the villain while also establishing Caspian as a foil to Bruce. The information, which is primarily delivered on one full page, conveys the striking parallels between Batman and the Reaper. Both men experienced a tragedy and used it as the catalyst for a war on crime. Caspian only diverges from Bruce in his willingness to kill. (Obviously, Batman would never kill anyone…right?)

At times, Tomasi makes the characters are too similar for their own good. The best foil characters diverge in a number of ways whereas Batman and the Reaper have one key difference. Otherwise, every time Bruce talks about Caspian, he might as well be talking about himself. But this parallelism allows Tomasi to show some tangible growth between the Batman who initially encountered the Reaper years ago and the one who faces off with the villain today. Tomasi’s version of the Dark Knight has a (mostly) secure grip on his no-killing policy and there’s a clear line between him and the criminals he fights. (King’s version of the character, as seen in recent issues of Batman, clashes with Tomasi’s vision, which softens the resemblance between the two.)

The Reaper, Batman, Detective Comics Annual #2 — The Reaper looks like a classic horror movie monster.

The Debut of The Reaper

From the first time the Reaper appears, the villain instills the reader with a sense of dread. He silently kills criminals, who don’t scream or react during these violent acts. The first appearance of the Reaper makes this eerie effect even more notable. When he arrives, the reader can practically hear the soundtrack of an old-school horror movie in the background.

Detective Comics Annual #2, Batman, The Reaper — The artwork in Detective Comics Annual #2 makes the Reaper look like a fresh take on a mythological ghoul.

The First Fight Between Batman And The Reaper

The work of artists Travis Moore and Max Raynor, as well as colorists Tamra Bonvillain and Nick Filardi, repeatedly captures the idea that superheroes and supervillains are the modern world’s answer to ancient mythology. With one panel, in which the Reaper flies through the night sky in front of the full moon, the art makes the villain feel like a macabre demon. In the same scene, Batman and the Reaper both get full-panel shots where they swoop in front of a background lit up by street lanterns. The lights add a sense of surrealism to the inevitable fight between the two characters and make it feel like a clash between mythological Titans.

Detective Comics Annual #2 features many memorable moments, and we’ve only outlined a few of them. What’s your favorite moment from this issue?

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Review: An Old Foe Back from the Grave in DETECTIVE COMICS ANNUAL #2

By

David DeCorte

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What’s the Caped Crusader to do when one of his earliest foes returns from the dead? Detective Comics Annual #2 reopens a chapter Bruce thought he’d closed long ago within his Black Casebook.

Batman discovers that Gotham’s former lethal enforcer, The Reaper, is now stalking the cities of Europe. Fortunately, Bruce Wayne has a convenient cover story to allow Batman to head for Greece and investigate The Reaper’s apparent return.