Death Comes To Call – Thanos #1

Lemire and Deodato conjure 70s sci-fi magic, as the big purple bad guy’s solo series gets off to a strong start.


Thanos and a big pile of skulls. Enough to encourage you to buy the issue? Oh, yes.

I was a kid in the 70s. Gawky, goofy, obsessed with Doctor Who. And, like, I suspect, most boys of my generation, World War II. The pervasive effects of the Second World War on popular culture in the UK during the 70s really can’t be overstated. In film and on TV, Britain and its allies defeated the Nazis and theirs with varying degrees of realism, drama and earnestness. As a boy, Commando and Warlord were my comics of choice. (Until Marvel finally got their act together, acquired the rights to Doctor Who and started publishing Doctor Who Weekly, of course.) Published by D C Thomson, Commando books were (and still are, for that matter) digest-sized, single-story comics offering intense blasts of action-peppered storytelling with art that ranged from almost frenzied rough lines to beautifully detailed realism. They were a staple of my childhood years, thanks largely to my grandmother faithfully buying an issue for me every week.

So, what on earth has this got to do with Thanos? Well, every so often, the newsagent’s would be sold out of Commando books, so grandma would buy me an issue of Starblazer instead – same format, same publisher, but mad sci-fi/science fantasy instead of gritty war stories. This first issue of Thanos reminds me rather powerfully of some of those 70s sci-fi comics. This is largely due to Mike Deodato’s (I guess he doesn’t need the Jr anymore) artwork, but Jeff Lemire does a fantastic job of creating an exotic, alien setting for his story – and in a wonderfully economical way, too.


Scene-setting. Very nice.

I must confess I’m not what you would call a Thanos ‘fan’. I like the character, but have yet to read the original Starlin Infinity Gauntlet stories. The cosmic side of the Marvel universe remains something of a mystery to me. That said, Thanos #1 is a good place to dive in and immerse yourself in the madness. We start off with a rather nicely done bit of narration[1] introducing us to the Black Quadrant, the moon from which Corvus Glaive rules his band of mercenaries (known as the Black Order), who in turn enforce his will throughout the territory that had formerly belonged to Thanos, Glaive having been Thanos’ right hand man when the ‘mad Titan’ had sat on the throne. Both Deodato’s art and Lemire’s words combine rather beautifully here; the images of the moon complex and tower, a group of Black Order mercenaries, and Glaive himself sitting on the throne surrounded by arcane tubing and wires echo are impressive both for their detail and ability to evoke the weird sci-fi comics of my childhood. Having explained that Glaive has usurped Thanos’ seat of power, no time is wasted in showing us Thanos returning and the entirely predictable carnage and devastation that follows. It is to Lemire’s and, particularly, Deodato’s credit that none of this violence feels remotely run of the mill. On the contrary, it is spectacular and dramatic stuff.


‘THOOM’. That’s not going to be good, is it?

The sense of grim inevitability these moments produce is important for the action that follows. Once Thanos arrives, Glaive chooses to try to defend ‘his’ throne – a decision that, I must admit, rather surprised me. I expected abject grovelling and some sort of guff about how he was keeping the seat warm for his newly returned boss. The fight that follows is brutal and short. Having destroyed the weapon from which Glaive takes his name and to which his life force is tied, Thanos gives his former lackey a choice: kill himself or let Thanos do it for him. And, as much as I can recognise that, yes, this is all a bit contrived and obvious, the moment when Glaive chooses the former option and plunges a shard of his shattered weapon into his stomach remains both dramatic and remarkably powerful. Thanos really is a scary guy.

The build-up to and depiction of the fight is broken up by the introduction of Tryco Slatterus, Champion of the Universe, who is hunting the Titan Eros, otherwise known as Starfox. Former Avenger Starfox is doing what Starfox does best – having romantic fun with a… ahem… diverse range of lovers. (Well, he does have euphoria-inducing powers…) The story here becomes just a tad predictable: mysterious, buff-looking, tough-talking chap turns up to whisk Starfox away from his life of self-indulgent pleasure. A combination of threats, snark and exposition ensues. The dialogue, for the most part, is serviceable enough, although I’m inclined to say that Starfox describing Tryco’s ship as a “space turd” is a genuine highlight. Tryco’s news that he’s been asked by Thane, Thanos’ son, to help him kill Thanos is intriguing enough and that sense of intrigue is deepened when Tryco reveals that there’s going to be one more member of the Thanos-killing team they need to pick up on the way back to Thane.


Starfox having fun. I think he needs a bigger bed…

Speaking of which, the final section of the issue deals with Thane and Death discussing their plan to kill Thanos. This is some nice stage-setting. Anyone who’s even only superficially acquainted with Thanos knows the role of the girl Death in his origin and ongoing psychopathy. (If you haven’t read Jason Aaron’s Thanos Rising, you really should – and not just because of the quite amazing Simone Bianchi artwork either.) What she’s doing here with Thane (a character with considerably more moral scruples than his father) is perhaps the biggest mystery of the comic and the greatest source of uncertainty in the story so far. Is she to be trusted? Almost certainly not. Why does Thane trust her? I’m not really sure. Her issue-ending revelation, however, does appear to be genuine. Throughout her conversation with Thane, we’ve seen images of Thanos obviously in some sort of physical distress and the issue ends very dramatically on a full-page of him bleeding (purple blood, naturally) from his nose and mouth and looking almost pathetically shocked. “Thanos is dying” we are told. While this does raise the question of why, in that case, Thane wants to kill him, it is a pretty shocking way to end the issue and primes the reader nicely for the rest of this opening story arc.


On the whole, then, this is a very good comic book. We get to see all the major characters in action including Thanos at his most brutally powerful and, at the end, shockingly vulnerable. Lemire gets Starfox absolutely spot on and the relationship between Thane and Death is interesting. In this issue, he does pretty much exactly what any writer should with a first issue of an ongoing title. He provides action, clear characterisation and hints of an unfolding plot that is comprehensible and bold enough (the title character is dying, everyone!) to hook the reader. He is ably assisted, though, by Mike Deodato whose layouts and character work are simply phenomenal. The simple decision to frame some of the action in a rectangular border grid lends the whole comic an elegant but futuristic feel and the interplay of light and shadow is also very striking. In addition, Frank Martin’s colours are impressively alien; he uses a palette of dirty oranges and muted purples for the Thanos sections, that manage to feel strange without being garish. A strong, highly enjoyable issue, Thanos #1 is a highly promising start to what I hope will be a fascinating and exciting exploration of Marvel’s wider sci-fi universe.

[1] Who precisely is doing the narration remains a mystery to me. I did think it was Thane at one point, but I don’t think it is. Is this a sneaky return for third person narration? If so, I am a happy man.

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