Killraven #6



Creative Team: Davis et al

Synopsis: Killraven faces M'Shulla in a death match; but, persuades him to take a dive. keeper Whitman isn't have and shocks KR, which brings him out of flashback, as we see him tortured by Grok, who mentally controls M'Shulla and Volcana, and admits to tweaking Hawk, though there was plenty of resentment to nudge...



Grok gets a surprise when the Martians won't allow telepathic communication and speak through their human voice, which POs Grok. he uses Volcana and M'Ahulla for a demonstration, but, M'Shulla is able to break free, because Grok is over-committed, proving the Martian point that he does not understand the humans and cannot defeat them.

Grok goes into the water to fight Killraven; but, KR ends up killing him, then mind melds with the Martians and learns the cause of the invasion. The Martians decide to go away and their human speakers are also now free. Everyone splits off to look to the future.





Thoughts: Interesting ending. We get the big climactic fight, between Killraven and Grok; but, it is minor. The big conflict ends up being between Grok, as a conduit for a Martian mind, and the original Martians, who consider him flawed and refuse to mind meld. Grok is rejected as failure and turns on his brethren, while trying to prove superiority to Killraven. he is shown to be wrong, as Killraven takes him out. Killraven lets the Martians live, as they are no threat without tripods and death rays. They call a truce and move on, content to live in the seas. the freemen are truly free and John now sees the truth of fighting and loses his stomach for it; but, all look to a brighter future.

The final story isn't that vastly different from Don Mcgregor's, though the telling of it was more in keeping with Roy Thomas and Neal Adams, than mcGregor and P Craig Russell. It's a more stripped down version of things, faster paced, with a more direct focus. McGregor was using Killraven as a metaphor for all kinds of things, from how we treat cattle in our food processing, to collector mentality, to concepts of freedom, environmental disasters, genetic engineering, opportunists who join tyrants, freedom fighters, and the like. McGregor was also more of a romantic and the relationship of carmilla and M'Shulla had more depth ther, than it does here. In fact, Carmilla is a rather minor here, by comparison. Mint Julep is probably the most rounded of the female characters. Volcana and Carmila spend more time as supporting fighters and damsels-in-distress, as well as love interests. It would seem that Mcgregor was the more liberated of the two writers.

I thing this really illustrates the difference between the corporate Marvel and the more freewheeling bronze Age Marvel. Under the rotating editorship of Roy Thomas, Len Wein, Marv Wolfman, Gerry conway and Archie goodwin, creativity flourished, even if sales were chaotic. Discipline was lax; but, creators came up with more concepts and pushed more boundaries. Once discipline was installed, creativity dropped. More time was spent exploring the creations of others and running the same generic storylines, again and again, with slight variations. That's a simplification; but, there is a strong element of truth at the core of that. Corporate thinking made Marvel more successful, on the balance sheet; but, did not launch near as many new ideas and characters, ones who would permeate stories to come.

Killraven didn't inspire as much use, as its setting is rather unique. At best, is spawned this remake, which didn't add anything new to the story. it kind of typifies why I pretty much gave up on mainstream comics, by this point: I had read these stories before. Even when done well, as this was, I felt like I had read it, 10, 20 or 30 years before. because, I had. It was the same at DC, as writers like Geoff Johns were busy rehashing Crisis and old stories. The rarity was someone like James Robinson who payed tribute to the old story, but used it as a launching point for a new generation. It was their fathers' past, while they used the lessons to face the threats of their world. That was a rarity. Too many writers were just rewriting those old stories, with no nw launching point, while artists just copied layouts and then showed their lack of training, by comparison (very broad generalization, I realize).

In the end, this is a fine series, in its own right. It is thoroughly readable and entertaining, filled with excitement and drama. It just isn't very original or unique in its approach. It is rather like the Star wars sequels; it looks nice, has call backs to the past; but, just rehashes the same plot, without really adding much to the lore. For a generation who never saw Amazing Adventures, it was new and exciting; for the rest of us, it was a rerun.

Here endeth my look at Killraven. i don't have any of the other material for further appearances, like Paradise X or Marvel Zombies; so, if someone else wants to cover them, be my guest. This is my end, as this is what matters, for me. Besides, I have to get back to Squadron Supreme, at some point.