Current Reviews


She-Hulk Vol. 2 #3

Posted: Saturday, December 31, 2005
By: Ray Tate

Writer: Dan Slott
Artists: Various
Publisher: Marvel

I don't know what liked more in She-Hulk: the metafiction component of the Time Variance Authority, the memory lane trips, Shulkie's determination to blatantly change history while in the TVA's custody and/or her brilliant logic regarding time travel's cause and effect clause. Slott's done it again, and this time he's got tons of help from multiple artists--several who have a more than passing familiarity with the character.

Slott's keen wit sets up the idea of the Time Variance Authority, inspired by Judge Dredd. They intend to wipe out Shulkie from history. This is more than a mere execution. It will be as if she never existed.

The TVA however are not the judges, juries and at times executioners of Megacity One. They must hold a trial to determine whether or not Shulkie's absence in history will cause irreparable damage to the timeline. Slott's intellect blazes from the story. He deconstructs She-Hulk. He peels back the superficial layers to expose why this character has such a fan following.

Slott's story isn't merely confined to She-Hulk. It expands to encompass many an explanation that fans themselves may wonder. He explains why certain characters haven't been recently seen in the Marvel universe. He highlights the fatal flaws which have crippled the intrinsic logic of the DC multiverse. This may sound unfair, but Marvel even with its six year sliding time scale doesn't alter their continuity as much or to such a damaging extent as DC. Slott shows why this would be a mistake. He shows what would happen if Red Skies ate say Spider-Man, and how the timeline would irrevocably be changed and perhaps destroyed. Would the same be done he asks if She-Hulk is removed? There are two schools of thought in this theory of time travel, and Slott covers both of them.

Testimony commences by various characters in a span rendered by Scott Kollins, Marvel's answer to George Perez. These characters affixed in various periods allows Slott to show his ability to capture various eras of She-Hulk's life and as well emulate the writers of those adventures.

Mike Vosberg one of Shulkie's original artists has lost none of his talent. He's in fact improved from a helluva start, and he has no problems returning home to Slott's vignette involving Shulkie and her father.

Amanda Connor has never publicly illustrated a She-Hulk adventure, but she with gusto tackles the Green Giantess and flatters Captain Marvel, the Wasp and a sane and stylish Wanda as Slott runs Shulkie through a catwalk of fashion disasters. Before the flashback Connor with inker Jimmy Palmiotti also contributes a Tigra pose that made me laugh aloud.

Ron Frenz, Joe Sinnot and Sal Buscema impress upon the readers just how strong She-Hulk is in an FF episode. Notice here how Slott captures the period Shulkie's voice and choreographs larger than life, cosmic action that fits the period.

When the prosecution objects, Mike Mayhew contributes two memorable painted pages packed with Marvel's female power houses. These scenes are key to Slott's argument.

Lee Weeks goes for an iconic, potent remembrance of She-Hulk's source. Slott here takes what could have been a kitschy joke seriously and also foreshadows his argument.

The Goon's Eric Powell dramatizes a dark future. Tom Grummett and Gary Erskine cap off the book with a simply beautiful Slott punchline, and for a dollar more you get two issues of premiere She-Hulk books--Savage and Sensational--which keeps with the theme.

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