Jim Shooter, for all that he is a legendarily controversial figure who was practically burned in effigy when he was booted out of Marvel and who made life miserable for a lot of people during his time as editor-in-chief, was a very smart guy and a pretty good writer. Dialogue was never his strength, but he’s always had a knack for coming up with big, interesting ideas and relating them in an accessible way. And I have to say, ‘Secret Wars’ was one of his triumphs on that score.
It started much the same way that DC’s ‘Super Powers’ mini-series did; they were doing a toy line, and they wanted to tie it in to a single storyline that featured as many of Marvel’s big guns as possible so that you would read the comic and then buy the toys…or possibly vice versa. Either way, it was a much bigger success as a comic than a toy line; the ‘Super Powers’ toys did far better business than ‘Secret Wars’ ever did. But as a comic, there’s no question which was better.
For one thing, it worked really well as a Big Event. The way that Shooter handled it made it remarkably a) non-intrusive for a crossover that involved Spider-Man, the Hulk, Iron Man, the X-Men, the Fantastic Four, the Avengers, and pretty much every single big-name villain including one who was notoriously dead at the time, and b) caused a lot of anticipation among comics fans. Shooter had the heroes disappear at the end of one issue (being the EIC of Marvel meant it was a lot easier to get people to participate in your crossover) and reappear at the beginning of the next…but as with DC’s ‘One Year Later’, a lot had clearly happened between those two issues, and the only way to find out what was to buy ‘Secret Wars’. Why did Spider-Man have a new costume? Why was the Hulk’s leg in a cast? Why was the Thing off on another planet? Why was She-Hulk now a member of the FF? Why did Colossus break up with Kitty Pryde? These were the kind of questions that Marvel could reasonably expect fans to want to know the answers to, and it was smart to structure the series this way. (And for the most part, the answers even made sense. Although the Hulk didn’t stay in the cast for long.)
But for another thing, it had some interesting themes. First, the Beyonder worked perfectly for this crossover. It made sense, on a metatextual level, that a series that was a tie-in to a toy line would involve an impossibly powerful alien playing with Marvel’s heroes and villains as if they were his action figures. But more than that, Shooter decided to ask questions about why kids enact such complicated play activities with their toys, especially ones that are emblematic of struggles over good and evil. He suggested that maybe the play activity helped sort out moral questions on a level accessible to children, and structured the series around an alien that was trying to figure out what good and evil actually were, and around an omnipotent alien whose every desire was instantly fulfilled trying to figure out what it was like to want things.
The answers he came up with were pretty interesting. For starters, although it was never made explicit, the heroes and villains weren’t grouped according to our complex moral frameworks, but according to the very simple question, “Are their desires selfish?” The people who were predominantly selfless, who used their powers to help others, were grouped as ‘heroes’, while the people who were predominantly selfish were grouped as villains. This had two immediate and fascinating results, which played out over the rest of the series. By this logic, Doctor Doom was a villain, while Magneto was a hero.
This was a major thematic component to the series, and showed a really deep understanding of the two characters. Shooter realized that for all that Magneto is ruthless and even murderous, he’s not selfish. He does what he does for mutantkind, not for his own personal benefit. Magneto would be perfectly happy with a little house in the country somewhere in a world where mutants were free of persecution; he doesn’t need to rule. While Doom…Victor might delude himself into thinking that he wants to rule the world for all the right reasons. He might pretend that he would simply be the best choice as leader, and that everything he does is for the benefit of humankind. But the Beyonder saw into his heart and knew better. That pretty much formed the underpinning of the entire story.
But of course, we needed fights and betrayals and epic feats of strength and power and big cool battle sequences and heroes distrusting each other and villains distrusting each other and Galactus being apocalyptically bad-ass and all sorts of Cool Shit, too. And ‘Secret Wars’ paid off. You got to see Spider-Man beating the entire X-Men simply by virtue of being too flippy-shit to punch. You got to see Hawkeye putting an arrow into Piledriver’s shoulder. You got to see the Hulk ripping the Absorbing Man’s arm off…and, oh yeah, holding up a freaking mountain with his bare hands. Oh, and you got to see the Molecule Man dropping a freaking mountain on the Hulk. Mark Millar wishes he could come up with an ending as cool as the ending to issue #3 of ‘Secret Wars’. There were so many great, epic Big Moments in this, and yet it never felt like Shooter was trying to shove Big Moments into his story. He didn’t draw attention to them; he just kept going with one after another exciting scene.
And it all culminated in an epically awesome last four issues. After hanging around for most of the series being enigmatic, Galactus finally decided to just eat the planet and everyone on it. (Some people wondered why the Beyonder would include a character who was pretty much guaranteed to win, but that presumes that this was a fair-play competition and not a psychological test. Finding out how people responded to learning that they never had a chance at winning would be worth studying in and of itself.) The heroes debated whether or not to sacrifice themselves and let Galactus win, in order to see his hunger permanently sated and save untold future billions, but ulatimately the whole thing was rendered moot when Doom stole the power of the Beyonder and became basically God.
This has to be one of the all-time great moments of Doctor Doom’s history, by the way. It established Doom as one of the ultimate schemers of the Marvel Universe; while everyone else was trying to figure out how to win the contest, Doom was planning to screw over God. And it worked. That’s bad-ass. And his defeat was also amazing; the heroes didn’t beat Doom with cunning or teamwork or power, Doom beat himself because deep down, he knew he was unworthy of Godhood. He couldn’t consciously accept the truth about his uglier aspects, but his subconscious knew he wasn’t the noble monarch he wanted to think of himself as, and everything fell apart on him through his own doing. (Which, by the way, was another epic Big Moment in the series. The heroes debate whether to take on an omnipotent, seemingly-benevolent Doom, and Cap says, “Is it even possible? If we decide to fight him, he might just annihilate us all with a bolt from the blue.” But ultimately, they decide he has to be stopped…and Doom just annihilates them all with a bolt from the blue. The next issue opens with Cap’s shield in pieces on the ground.)
And ultimately, Doom’s defeat provided the answer to the Beyonder’s question, for the audience if not the characters. Doom’s selfish desires were poisonous, and getting what he wanted–getting everything he ever wanted–worked out very badly for him, because he didn’t really know what he wanted and he wound up getting the wrong things. Self-knowledge matters more than power, and the ultimate “winner” is the Molecule Man, who learns that he’s always been able to do anything he ever wanted to do; he was just too scared to accept responsibility for that. And armed with that ultimate power, and even more importantly with that ultimate self-knowledge, the Molecule Man settles down to a little apartment in the suburbs with a nice girlfriend, content in the knowledge that fulfilling one’s desires doesn’t come from grabbing more, it comes from learning when you have enough. That’s a pretty deep message to come out of a toy tie-in series, but Shooter told it in a way that the average kid could understand.
Then, of course, the Beyonder came to visit the Molecule Man…but since this is “Things I Love About Comics”, we’ll stop there.
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My SW #8 signed by Shooter is one of the few times I felt an autograph added to the value of a book. This series was his signature work.
I never read the original Secret Wars. But it seems like they yoinked the idea of ‘unworthiness for godhood’ from this story during the original Infinity Gauntlet story.
I lost every angstrom of goodwill I had for Shooter around Legion of Superheroes v5 #49.
I really should check out Secret Wars, though.
Yeah, Secret Wars was pretty bad ass. From all of the Big Moments John mentions in the article to Doom basically creating Titania and Volcana (Not to mention resurrecting Klaw) to the wholesale beatdown of She-Hulk to big-bully Titania getting her comeuppance at the hands of Spider-Man, the whole thing ruled and ruled hard and didn’t stop ruling till it was done. Great article, John, thanks!
“You got to see Spider-Man beating the entire X-Men simply by virtue of being too flippy-shit to punch.”
That sentence is going in my text file of quotes that amuse me beyond all sense of reason. Thank you.
Yeah the whole business with Spider-Man beating Titania so bad that she had an (arachno)phobia about him for a long time afterwards was great.
I loved reading these when I was wee. And then I loved reading them when I was older and then came to appreciate that apparently Colossus was the true chick magnet of the X-Men.
Articles like this are one of the Things I Love About Comics.
I hate to be That Guy, but I’m pretty sure Absorbing Man’s arm wasn’t torn off by the Hulk but sliced off by Wolverine. Still, it was a pretty cool moment.
Great article. I also liked that the heroes split, and it was partially centered around the X-Men’s willingness to work alongside Magneto. Your comments are very accurate about his motivations, and of course the X-Men could relate to this narrative — I greatly enjoyed the sophistication of this “know thine enemy” development.
Secret Wars predates Infinity Gauntlet by about 7 years.
I love Secret Wars. Its so up front about its nature (the foreword explains how it was trying to sell comics) and has these amazing moments. I’m a big fan of Doom in this comic, who, we learn, records everything he says for perpetuity. Which, of course he does!
Thok – I know Secret Wars predates IG. Which is why I said it seems like they took the idea from SW and attached it to Thanos, if I wasn’t clear.
Thok: I think he was saying that IG took that from Secret Wars, no the other way around.
My favorite Secret Wars moment is specifically from the “Spider-Man clowns the X-Men” scene. While he webs Colossus in the face, verbally mocks Nightcrawler’s attempts to match his acrobatics, and dodges eyeblasts from Cyclops, Wolverine leaps at him from behind.
In the next panel Spider-Man casually swats him out of midair with a backhand.
Oh, early Wolverine. You were yet to become arbitrarily invincible.
Worst parts about Secret Wars?
I like the idea of the distrust for mutants making the other heroes unable to work with the X-men and creating a possibly-fatal rift in the team of heroes, but the way it was done was so clumsy. Xavier comes across as an idiot and “a Jerk!” for just running out on the heroes. He’s arguably as much at fault as Banner for the savage beating She-Hulk suffered.
And I really hated the way shooter treated the Hulk – he had like 2 good moments (the mountain and vs. Ultron), but even his big moment holding up the mountain was undermined by the whole business of Reed needling him to feed his anger. Again, I like the idea of Banner’s psyche being a handicap rather than an asset for the Hulk, but in execution it mostly came across as putting the Hulk down to make the Fantastic Four seem more awesome.
And, boy, is it obvious that the FF and Spider-Man are Shooter’s favorites (and the Hulk and X-Men his least favorites). Galactus’s whole REED RICHARDS YOU ARE A COSMIC FORCE FOR GOOD crap made my eyes roll when I was 14. And how that went into Reed’s whole should-they-or-shouldn’t-they fight Galactus reasoning made no sense at all.
Also, that page later on where the X-Men finally show up to help the Avengers is one of the least dynamic entrances in all of comics. They’re just sort standing there off to the side like they just strolled by and thought they’d check out what’s going on.
When Janet Van Dyne died For Real in Secret Invasion, I wanted someone — ANYONE — to be flippant about it. “Remember the Secret Wars? She died TWICE in one week! She’ll be fine!”
And the cliffhanger for issue 3 IS pretty great, but if memory serves, the actual “I’ll just drop this mountain range on them!” doesn’t happen until issue 4. First we had to have the very Shootery scene of Cap taking roll call when they regroup after abandoning their headquarters, and the very Hawkeye moment when he takes on, like, a 20-ton piece of flying alien debris with a freaking bow and arrow.
Thanks for the article! Secret Wars is what got me into comics, and for all its flaws, there’ll never be anything like it again for me.
I think the big question about the Hulk coming out of the SECRET WARS cliffhanger was why he didn’t have Bruce Banner’s intelligence anymore. This led to his going completely nuts when he came back, demolishing both teams of the Avengers, and being exiled into another dimension for a year.
Also, anyone who mocks SECRET WARS II will have me to deal with.
Oddly enough, my introduction to Wolverine and probably the X-Men as a whole was the Secret Wars action figure. In fact I don’t think I’d even started collecting comics at the time.
@Brian Smith
And then she came back anyway. Comics!
Other favorite parts from that storyline:
1) The new spider woman taking out the absorbing man (believably I thought)
2) Hawkeye’s reluctance to wound severely with an arrow, yet his willingness to.
3) Ben Grimm’s sense of humor in the first issue, and the “transport” scene from said issue with the hulk carrying the thing and spidery hitching a ride.
4) everyone’s willingness to rally around Captain America.
5) Jim Rhodes kicking ass as the new Iron Man (I was surprised to see a black Iron Man in the series; the only version I knew was tony stark from the spider man cartoon.)
6) The Tom DeFalco written saga of the alien costume, with Mary Jane confiding to Peter about her harsh life.
7) Molecule Man’s reluctant, pathetic, sympathetic portrayal (“My Therapist said I shouldn’t use my powers to hurt anyone!”)
8) The sense of humor in general; Jim Shooter didn’t always write the best dialogue, but he had a wonderful appreciation for the absurd, and the lines usually worked to serve it.
9) Small bits of vulnerability; the usually arrogant Reed Richards refusing command and worrying about his wife, hawkeye and spider sharing a few moments of self doubt, Cap devoted to fixing his shield after all it did for him, Colossus’s mourning and the X-men caring for him, etc.
10) The Human Torch using his Nova Flame against Ultron, though I always thought the release of all of that heat would scorch Captain America, shield or no.
11) Captain America vs. the Enchantress was pretty cool.
To the side, I used to wonder if Captain America would be a little depressed when the whole thing was over; he was always committed to the ideal of people working together despite race, creed, or color, yet the heroes still segregated into mutant/human divisions. I always figured the avatar of WW2 American ideals would believe that the lesson of the great war would be that different groups would unite against a horrible threat (even with segregated units) but when the chips were down, even though they were heroes, they split along racial lines. A bit sad.
And, boy, is it obvious that the FF and Spider-Man are Shooter’s favorites (and the Hulk and X-Men his least favorites). Galactus’s whole REED RICHARDS YOU ARE A COSMIC FORCE FOR GOOD crap made my eyes roll when I was 14. And how that went into Reed’s whole should-they-or-shouldn’t-they fight Galactus reasoning made no sense at all.
I’m not saying Jim Shooter didn’t have favorites but I have trouble imagining Jim Shooter ever doing anything based on who was his favorite, vs. doing it based on Jim Shooter’s intensive analysis of what was the Correct Way for a given series of events involving a bunch of characters to happen.
I used to have the argument back in the day with fellow nerds about whether Secret Wars was better than Crisis on Infinite Earths, with the anti-SW people using the arguments that a) Jim Shooter is a dick, and b) Shooter “ripped off” the idea for SW from Marv Wolfman. To which I say: yes, Shooter was famously a dick–although he’s a talented writer and had some pretty good business ideas while he was EiC, he also alienated any number of people at Marvel for no good reason to the point that, when he was going to write some Legion of Super-Heroes stories at DC some twenty years later, he still had enough enemies in the business that they apparently threatened to quit DC if he was taken on as a freelancer. And, of course, fans had been requesting a What If? of all the superheroes fighting all the supervillains for several years previous. (Marvel had even done their Contest of Champions a couple of years earlier.)
That’s all kind of beside the point, though, which is that SW was arguably much better than CoIE, although that in part had to do with CoIE having an intrinsically flawed premise, that having a multiverse with alternate versions of the same heroes was for some reason inherently bad and confusing, and that there should be One True Superman and blah blah blah. It’s a peculiarly anal approach to superhero world-building, and ranks among Marv Wolfman’s and George Perez’s worst work IMO. (In particular, comparing any random page from CoIE and Perez’s work in Teen Titans shows you how cramped and let’s-just-cover-this-plot-point-and-move-on functional the former is.)
Crisis may be indecipherable in the end but at least it’s a pleasant read with top notch art that never gives you the impression that the writer thinks you’re an idiot. That was the impression I got as a 12 year old reading the original series. Especially bizarre was how off-character from their regular series the characters sounded, particularly James Rhodes’ jive talk but the FF, the X-Men, all of them just talked and acted differently from their regular series where they were written by Byrne, Claremont, Stern, etc. Shooter’s solution? He stated in interviews that as Stan Lee’s successor, when he writes a character that is the way it is supposed to be and if John Byrne’s Johnny Storm sounds different, it’s because Byrne is writing him wrong. And check the Marvel letter columns during the time the series was published – there’s often a random editorial comment about how awesome Secret Wars is and I recall at least one that just went on and on about how “right” Shooter’s handling of the characters are. So Shooter’s scripting could suck and apparently it’s because Chris Claremont didn’t know how to write Rogue. It’s also worth noting that the series features probably Mike Zeck’s least composed, least imaginative work. Compare a page of his Punisher of Kraven work with a page of Secret Wars and you’ll think it’s a different artist altogether. Fact is, you get all the big Marvel heroes fighting all the big Marvel villains and it’s going to sell like gangbusters no matter what, and that’s what made the series a hit. It was, in my early collecting experience, among the worst series I ever bought and a step backward from the real greatness that Shooter incubated while at Marvel (Byrne’s FF, Miller’s DD, Simonson’s Thor, the Epic line, Claremont’s expanding X-Men line).