The 1990s was a decade of excess when it comes to superhero comic books. Apart from the persistent hoarding of comic books and the quest for profit, there were also these wide superhero franchises (or superhero universes) that popped up and even challenged Marvel Comics and DC Comics. Malibu Comics launched the Ultraverse while Valiant Comics came up with its own universe.
Valiant established itself nicely with popular characters like Bloodshot, X-O Manowar, Turok and Ninjak, and each one had its own regular series of comic books published. When it comes to teams, there was H.A.R.D. Corps (H.A.R.D. stood for Harbinger Active Resistance Division).
During the recent Hobby Con held at Las Piñas City, I luckily found myself a copy of The H.A.R.D. Corps #1 and read it for the first time ever. This is my review of the comic book which has a cover drawn by the great Jim Lee.
The story begins with the 5-member team in the middle of a mission inside the secured facility of the Harbinger Foundation. Under fire from the facility’s armed personnel, the team (riding a floating vehicle) struggle to find their way and evacuate. Along the way, an oversized man called Big Boy grabbed one of their members and separated him from the others. With the situation getting worse, the captured member got “brain popped” (a remote form of self-destruction via the neural flash implanted inside the person’s brain). The remaining four manage to get away by means of aerial transport provided by their company.
Then a section of the facility exploded causing financial damage to Mr. Harada who decided to visit and inspect the site.
Some time later, the H.A.R.D. Corps enjoy the privacy and security at their headquarters in the Nevada desert. Team members Shakespeare, Major Palmer, Softcore, Hammerhead and Superstar wait for instructions at the debriefing room.
The H.A.R.D. Corps #1 is very well written by David Michelinie. Within twenty-two pages, Michelinie loaded enough details to explain the comic book’s core concept efficiently while at the same time he managed to tell an engaging story with a light touch on character development (note: there were many characters and there was not enough space for further personality emphasis). By the time the story ended, I really felt enlightened, entertained and wanting to find out what would happen next.
Michelinie’s handling of expository dialogue was done very efficiently. I’m talking about the private briefing done by an executive of the Cartel explaining to a recovering man named Kim (who was almost killed during the Los Angeles Riot) what H.A.R.D. Corps is, why the Cartel is in a race against Harada who has been manipulating Harbingers (persons with unique abilities). The Cartel opposes Harada with neural implants.
More on the team, H.A.R.D. Corps members are people who have gone through training programs and each of them had neural implants in their heads which enable them to mimic Harbinger powers (one at a time) through signals broadcast from a base station. Each of them was comatose and the use of the implants reversed the coma.
When it comes to visuals, the art by David Lapham (inked by Bob Layton) was pretty good. I like the high amount of detail placed on the surroundings in most of the panels. Action shots had a good amount of impact.
This comic book from late 1992 is a good and engaging read. I really enjoyed it and I like its core concept about a team of enhanced individuals who are technically living properties of very business-minded people opposed to Harada. Even by today’s standards, H.A.R.D. Corps concept really stands out among all superhero team comic books.
The H.A.R.D. Corps #1 is recommended and you can acquire a near-mint copy of it for only $4 at MileHighComics.com (as of this writing).
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
I miss the old times when big rivals Marvel and DC Comics would set aside competition temporarily to team up and rely on their respective comic creators to make superhero crossover comic books that the fans can enjoy.
Back in the 1970s, key developments related to the comic book adaptation of The Wizard of Oz brought the two rivals together as partners. In 1976, Marvel and DC’s first superhero crossover Superman vs. The Amazing Spider-Man got published and to this day many comic book collectors and geeks I encountered still enjoy it. A few of them even called it a classic.
The collaboration between Marvel and DC continued in 1981 with Superman and Spider-Man which was published as issue number 28 of the Marvel Treasury Edition series.
This is my look back at Superman and Spider-Man.
The comic book
Scripted by then Marvel Comic editor-in-chief Jim Shooter (with Marv Wolfman mentioned for plot suggestions) with art drawn by John Buscema and inkwork done by Terry Austin, Al Milgrom, Steva Leialoha, Walt Simonson, Bob Layton, Joe Rubinstein and Bob Wiacek, the comic book begins when Spider-Man swings into a construction site where he encounters several armed men and stops them singlehandedly.
Even though he stopped the bad guys, Spider-Man’s spider sense bothers him making him speculate that, because there’s no clear danger around him, the construction site seemed to be a threat.
After Spider-Man swings away from the police who just arrived, classic Marvel supervillain Doctor Doom watches via surveillance video and he was bother by the way things turned out.
“I did not like the way Spider-Man paused and look around after subduing the thieves – – as if he sensed something unusual about the excavation! Those accursed spider instincts of his,” Doom said before proceeding with his master plan.
A day later, the Hulk arrives in Metropolis causing lots of damage. Separately Superman and Spider-Man arrive to contain the green guy. However, things are not what they seem. This is where the story description ends.
What this comic book lacked compared to the 1976 Superman-Spider-Man crossover is visual impact. Clearly John Buscema had to follow closely the script which called for multiple panels per page and that left him little room to draw scenes dynamically. That’s not to see the art is weak. In fact, Buscema’s art is pretty good and he has deep knowledge about how the characters (including those many supporting characters and other minor characters from both Marvel and DC Comics) really looked from the size of Hulk’s body, the details on Wonder Woman’s costume, the distinctive look of J. Jonah Jameson, Perry White, etc. In short, I recognized the characters very easily.
While the high number of panels per page limited him, Buscema managed to come up with some action shots that packed some impact.
When it comes to writing and storytelling, this comic book exceeds that of the 1976 Superman-Spider-Man crossover big time! To start with, the plot is much more elaborate, more detailed and yet consistently remained easy to follow.
While the 1976 crossover had the most popular villains of Superman and Spider-Man as the representation of evil, this one instead had Dr. Doom and Parasite. The great news is that these two super villains complement each other nicely and that itself adds good depth into the plot. Dr. Doom is a major schemer and Parasite fitted nicely within his master plan for global chaos.
Regarding dialogue, the script had a lot of strength and was also specific in capturing the personalities of the superheroes, the super villains and the supporting cast. I can easily identify J. Jonah Jameson, Perry White, Lois Lane and others through the dialogue.
Not to be outdone is the deeper approach to the crossover aspect of the story. Right from the start, the comic book creators expected us readers to suspend disbelief and start believing that while the story is non-canon, the respective universes of Marvel and DC Comics co-existed. Because there were TV shows of Wonder Woman and the Hulk playing, the two characters were included in the comic book adding depth to the crossover.
Speaking of crossovers, this comic book was not limited to Superman and Spider-Man. The encounter between the Hulk and Superman was a short but sweet spectacle to read. The encounter between Wonder Woman and Spider-Man meanwhile was short yet fun.
Adding more to the fun in this comic book was how Clark Kent interacted with the Spider-Man supporting characters while Peter Parker interacted with the Superman supporting characters. I enjoyed every moment of these scenes.
As far as narrative is concerned, this comic book is slightly slanted towards Superman. One factor behind this was the implementation of how local authorities interact with Superman and Spider-Man. Whenever he solves crime, Superman is highly respected by the public and the police. This is not the case with Spider-Man who is often perceived to be a social menace even though he helps solve crimes. Another factor was that Superman did more detective-type work (including a visit to Latveria) while Spidey hardly contributed anything to the plot’s development.
Regardless, the two icons got a fair share of the spotlight during the final stages of the story and there was enough spectacle to enjoy.
If there is any complaint I have, it would be the comic book creators’ reluctance on fully connecting itself to the 1976 crossover. In the scene wherein Peter Parker was guided into the film editing room by Jimmy Olsen, he recognized Lois Lane and remembered meeting her in the 1976 crossover (which ended with socializing). And yet when Spider-Man and Superman get together in this comic book, there was a noticeable lack of friendliness and personal cooperation between them even though they bonded nicely in the 1976 story.
Overall, Superman and Spider-Man is indeed a highly engaging, fun-filled superhero crossover comic book. For me, it is a true literary classic and definitely worth searching for out there. I read this crossover many times from start to finish and even though I knew the plot and the dialogue, I still had a lot of fun reading along the way. With the combined talents of Shooter, Buscema and many others, this superhero crossover was indeed one of the very best stories ever told by Marvel and DC Comics.
Given the current corporate climate Marvel and DC Comics are now in, it is very unlikely we will see another creatively fun superhero crossover collaboration between them happening soon. For the newcomers reading this, Marvel is owned by the Walt Disney Company while DC Comics is owned by Warner Bros.